The Door in the Wall, and Other Stories — Story, Setting & Ideas

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Wells, H. G. (Herbert George), 1866-1946 Project Gutenberg 1996 Not confirmed
Short stories; Science fiction, English; Fantasy fiction, English Readers of public-domain and historical texts
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Words 47,122
Reading time 205 min
Text sections 10

The source record for The Door in the Wall, and Other Stories — Story, Setting & Ideas measures this digital text at 47,122 words, 3 hr 25 min estimated reading time, and 10 detected text sections.

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An editorial note on H.G. Wells's collection, focusing on his use of frame narratives, sensory description, and psychological tension in stories like 'The Door in the Wall' and 'The Cone.'
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g and well being; there was something in the sight of it that made all its colour clean and perfect and subtly luminous. In the instant of coming into it one was exquisitely glad—as only in rare moments and when one is young and joyful one can be glad in this world. And everything was beautiful there . . . . .

Wallace mused before he went on telling me. “You see,” he said, with the doubtful inflection of a man who pauses at incredible things, “there were two great panthers there . . . Yes, spotted panthers. And I was not afraid. There was a long wide path with marble-edged flower borders on either side, and these two huge velvety beasts were playing there with a ball. One looked up and came towards me, a little curious as it seemed. It came right up to me, rubbed its soft round ear very gently against the small hand I held out and purred. It was, I tell you, an enchanted garden. I know. And the size? Oh! it stretched far and wide, this way and that. I believe there were hills far away. Heaven knows where West Kensington had suddenly got to. And somehow it was just like coming home.

“You know, in the very moment the door swung to behind me, I forgot the road with its fallen chestnut leaves, its cabs and tradesmen’s carts, I forgot the sort of gravitational pull back to the discipline and obedience of home, I forgot all hesitations and fear, forgot discretion, forgot all the intimate realities of this life. I became in a moment a very glad and wonder-happy little boy—in another world. It was a world with a different quality, a warmer, more penetrating and mellower light, with a faint clear gladness in its air, and wisps of sun-touched cloud in the blueness of its sky. And before me ran this long wide path, invitingly, with weedless beds on either side, rich with untended flowers, and these two great panthers. I put my little hands fearlessly on their soft fur, and caressed their round ears and the sensitive corners under their ears, and played with them, and it was as though they welcomed me home. There was a keen sense of home-coming in my mind, and when presently a tall, fair girl appeared in the pathway and came to meet me, smiling, and said Well?’ to me, and lifted me, and kissed me, and put me down, and led me by the hand, there was no amazement, but only an impression of delightful rightness, of being reminded of happy things that had in some strange way been overlooked. There were broad steps, I remember, that came into view between spikes of delphinium, and up these we went to a great avenue between very old and shady dark trees. All down this avenue, you know, between the red chapped stems, were marble seats of honour and statuary, and very tame and friendly white doves . . . . .

“And along this avenue my girl-friend led me, looking down—I recall the pleasant lines, the finely-modelled chin of her sweet kind face—asking me questions in a soft, agreeable voice, and telling me things, pleasant things I know, though what they were I was never able to recall . . . And presently a little Capuchin monkey, very clean, with a fur of ruddy brown and kindly hazel eyes, came down a tree to us and ran beside me, looking up at me and grinning, and presently leapt to my shoulder. So we went on our way in great happiness . . . .”

“I remember little things. We passed an old man musing among laurels, I remember, and a place gay with paroquets, and came through a broad shaded colonnade to a spacious cool palace, full of pleasant fountains, full of beautiful things, full of the quality and promise of heart’s desire. And there were many things and many people, some that still seem to stand out clearly and some that are a little vague, but all these people were beautiful and kind. In some way—I don’t know how—it was conveyed to me that they all were kind to me, glad to have me there, and filling me with gladness by their gestures, by the touch of their hands, by the welcome and love in their eyes. Yes—”

He mused for awhile. “Playmates I found there. That was very much to me, because I was a lonely little boy. They played delightful games in a grass-covered court where there was a sun-dial set about with flowers. And as one played one loved . . . .

“But—it’s odd—there’s a gap in my memory. I don’t remember the games we played. I never remembered. Afterwards, as a child, I spent long hours trying, even with tears, to recall the form of that happiness. I wanted to play it all over again—in my nursery—by myself. No! All I remember is the happiness and two dear playfellows who were most with me . . . . Then presently came a sombre dark woman, with a grave, pale face and dreamy eyes, a sombre woman wearing a soft long robe of pale purple, who carried a book and beckoned and took me aside with her into a gallery above a hall—though my playmates were loth to have me go, and ceased their game and stood watching as I was carried away. ‘Come back to us!’ they cried. ‘Come back to us soon!’ I looked up at her face, but she heeded them not at all. Her face was very gentle and grave. She took me to a seat in the gallery, and I stood beside her, ready to look at her book as she opened it upon her knee. The pages fell open. She pointed, and I looked, marvelling, for in the living pages of that book I saw myself; it was a story about myself, and in it were all the things that had happened to me since ever I was born . . . .

“It was wonderful to me, because the pages of that book were not pictures, you understand, but realities.”

Wallace paused gravely—looked at me doubtfully.

“Go on,” I said. “I understand.”

“They were realities—yes, they must have been; people moved and things came and went in them; my dear mother, whom I had near forgotten; then my father, stern and upright, the servants, the nursery, all the familiar things of home. Then the front door and the busy streets, with traffic to and fro: I looked and marvelled, and looked half doubtfully again into the woman’s face and turned the pages over, skipping this and that, to see more of this book, and more, and so at last I came to myself hovering and hesitating outside the green door in the long white wall, and felt again the conflict and the fear.

“‘And next?’ I cried, and would have turned on, but the cool hand of the grave woman delayed me.

“‘Next?’ I insisted, and struggled gently with her hand, pulling up her fingers with all my childish strength, and as she yielded and the page came over she bent down upon me like a shadow and kissed my brow.

“But the page did not show the enchanted garden, nor the panthers, nor the girl who had led me by the hand, nor the playfellows who had been so loth to let me go. It showed a long grey street in West Kensington, on that chill hour of afternoon before the lamps are lit, and I was there, a wretched little figure, weeping aloud, for all that I could do to restrain myself, and I was weeping because I could not return to my dear play-fellows who had called after me, ‘Come back to us! Come back to us soon!’ I was there. This was no page in a book, but harsh reality; that enchanted place and the restraining hand of the grave mother at whose knee I stood had gone—whither have they gone?”

He halted again, and remained for a time, staring into the fire.

“Oh! the wretchedness of that return!” he murmured.

“Well?” I said after a minute or so.

“Poor little wretch I was—brought back to this grey world again! As I realised the fulness of what had happened to me, I gave way to quite ungovernable grief. And the shame and humiliation of that public weeping and my disgraceful homecoming remain with me still. I see again the benevolent-looking old gentleman in gold spectacles who stopped and spoke to me—prodding me first with his umbrella. ‘Poor little chap,’ said he; ‘and are you lost then?’—and me a London boy of five and more! And he must needs bring in a kindly young policeman and make a crowd of me, and so march me home. Sobbing, conspicuous and frightened, I came from the enchanted garden to the steps of my father’s house.

“That is as well as I can remember my vision of that garden—the garden that haunts me still. Of course, I can convey nothing of that indescribable quality of translucent unreality, that difference from the common things of experience that hung about it all; but that—that is what happened. If it was a dream, I am sure it was a day-time and altogether extraordinary dream . . . . . . H’m!—naturally there followed a terrible questioning, by my aunt, my father, the nurse, the governess—everyone . . . . . .

“I tried to tell them, and my father gave me my first thrashing for telling lies. When afterwards I tried to tell my aunt, she punished me again for my wicked persistence. Then, as I said, everyone was forbidden to listen to me, to hear a word about it. Even my fairy tale books were taken away from me for a time—because I was ‘too imaginative.’ Eh? Yes, they did that! My father belonged to the old school . . . . . And my story was driven back upon myself. I whispered it to my pillow—my pillow that was often damp and salt to my whispering lips with childish tears. And I added always to my official and less fervent prayers this one heartfelt request: ‘Please God I may dream of the garden. Oh! take me back to my garden! Take me back to my garden!’

“I dreamt often of the garden. I may have added to it, I may have changed it; I do not know . . . . . All this you understand is an attempt to reconstruct from fragmentary memories a very early experience. Between that and the other consecutive memories of my boyhood there is a gulf. A time came when it seemed impossible I should ever speak of that wonder glimpse again.”

I asked an obvious question.

“No,” he said. “I don’t remember that I ever attempted to find my way back to the garden in those early years. This seems odd to me now, but I think that very probably a closer watch was kept on my movements after this misadventure to prevent my going astray. No, it wasn’t until you knew me that I tried for the garden again. And I believe there was a period—incredible as it seems now—when I forgot the garden altogether—when I was about eight or nine it may have been. Do you remember me as a kid at Saint Athelstan’s?”

“I didn’t show any signs did I in those days of having a secret dream?”

He looked up with a sudden smile.

“Did you ever play North-West Passage with me? . . . . . No, of course you didn’t come my way!”

“It was the sort of game,” he went on, “that every imaginative child plays all day. The idea was the discovery of a North-West Passage to school. The way to school was plain enough; the game consisted in finding some way that wasn’t plain, starting off ten minutes early in some almost hopeless direction, and working one’s way round through unaccustomed streets to my goal. And one day I got entangled among some rather low-class streets on the other side of Campden Hill, and I began to think that for once the game would be against me and that I should get to school late. I tried rather desperately a street that seemed a _cul de sac_, and found a passage at the end. I hurried through that with renewed hope. ‘I shall do it yet,’ I said, and passed a row of frowsy little shops that were inexplicably familiar to me, and behold! there was my long white wall and the green door that led to the enchanted garden!

“The thing whacked upon me suddenly. Then, after all, that garden, that wonderful garden, wasn’t a dream!” . . . .

“I suppose my second experience with the green door marks the world of difference there is between the busy life of a schoolboy and the infinite leisure of a child. Anyhow, this second time I didn’t for a moment think of going in straight away. You see . . . For one thing my mind was full of the idea of getting to school in time—set on not breaking my record for punctuality. I must surely have felt _some_ little desire at least to try the door—yes, I must have felt that . . . . . But I seem to remember the attraction of the door mainly as another obstacle to my overmastering determination to get to school. I was immediately interested by this discovery I had made, of course—I went on with my mind full of it—but I went on. It didn’t check me. I ran past tugging out my watch, found I had ten minutes still to spare, and then I was going downhill into familiar surroundings. I got to school, breathless, it is true, and wet with perspiration, but in time. I can remember hanging up my coat and hat . . . Went right by it and left it behind me. Odd, eh?”

He looked at me thoughtfully. “Of course, I didn’t know then that it wouldn’t always be there. School boys have limited imaginations. I suppose I thought it was an awfully jolly thing to have it there, to know my way back to it, but there was the school tugging at me. I expect I was a good deal distraught and inattentive that morning, recalling what I could of the beautiful strange people I should presently see again. Oddly enough I had no doubt in my mind that they would be glad to see me . . . Yes, I must have thought of the garden that morning just as a jolly sort of place to which one might resort in the interludes of a strenuous scholastic career.

“I didn’t go that day at all. The next day was a half holiday, and that may have weighed with me. Perhaps, too, my state of inattention brought down impositions upon me and docked the margin of time necessary for the detour. I don’t know. What I do know is that in the meantime the enchanted garden was so much upon my mind that I could not keep it to myself.

“I told—What was his name?—a ferrety-looking youngster we used to call Squiff.”

“Young Hopkins,” said I.

“Hopkins it was. I did not like telling him, I had a feeling that in some way it was against the rules to tell him, but I did. He was walking part of the way home with me; he was talkative, and if we had not talked about the enchanted garden we should have talked of something else, and it was intolerable to me to think about any other subject. So I blabbed.

“Well, he told my secret. The next day in the play interval I found myself surrounded by half a dozen bigger boys, half teasing and wholly curious to hear more of the enchanted garden. There was that big Fawcett—you remember him?—and Carnaby and Morley Reynolds. You weren’t there by any chance? No, I think I should have remembered if you were . . . . .

“A boy is a creature of odd feelings. I was, I really believe, in spite of my secret self-disgust, a little flattered to have the attention of these big fellows. I remember particularly a moment of pleasure caused by the praise of Crawshaw—you remember Crawshaw major, the son of Crawshaw the composer?—who said it was the best lie he had ever heard. But at the same time there was a really painful undertow of shame at telling what I felt was indeed a sacred secret. That beast Fawcett made a joke about the girl in green—.”

Wallace’s voice sank with the keen memory of that shame. “I pretended not to hear,” he said. “Well, then Carnaby suddenly called me a young liar and disputed with me when I said the thing was true. I said I knew where to find the green door, could lead them all there in ten minutes. Carnaby became outrageously virtuous, and said I’d have to—and bear out my words or suffer. Did you ever have Carnaby twist your arm? Then perhaps you’ll understand how it went with me. I swore my story was true. There was nobody in the school then to save a chap from Carnaby though Crawshaw put in a word or so. Carnaby had got his game. I grew excited and red-eared, and a little frightened, I behaved altogether like a silly little chap, and the outcome of it all was that instead of starting alone for my enchanted garden, I led the way presently—cheeks flushed, ears hot, eyes smarting, and my soul one burning misery and shame—for a party of six mocking, curious and threatening school-fellows.

“We never found the white wall and the green door . . .”

“I mean I couldn’t find it. I would have found it if I could.

“And afterwards when I could go alone I couldn’t find it. I never found it. I seem now to have been always looking for it through my school-boy days, but I’ve never come upon it again.”

“Did the fellows—make it disagreeable?”

“Beastly . . . . . Carnaby held a council over me for wanton lying. I remember how I sneaked home and upstairs to hide the marks of my blubbering. But when I cried myself to sleep at last it wasn’t for Carnaby, but for the garden, for the beautiful afternoon I had hoped for, for the sweet friendly women and the waiting playfellows and the game I had hoped to learn again, that beautiful forgotten game . . . . .

“I believed firmly that if I had not told— . . . . . I had bad times after that—crying at night and wool-gathering by day. For two terms I slackened and had bad reports. Do you remember? Of course you would! It was _you_—your beating me in mathematics that brought me back to the grind again.”

For a time my friend stared silently into the red heart of the fire. Then he said: “I never saw it again until I was seventeen.

“It leapt upon me for the third time—as I was driving to Paddington on my way to Oxford and a scholarship. I had just one momentary glimpse. I was leaning over the apron of my hansom smoking a cigarette, and no doubt thinking myself no end of a man of the world, and suddenly there was the door, the wall, the dear sense of unforgettable and still attainable things.

“We clattered by—I too taken by surprise to stop my cab until we were well past and round a corner. Then I had a queer moment, a double and divergent movement of my will: I tapped the little door in the roof of the cab, and brought my arm down to pull out my watch. ‘Yes, sir!’ said the cabman, smartly. ‘Er—well—it’s nothing,’ I cried. ‘_My_ mistake! We haven’t much time! Go on!’ and he went on . . .

“I got my scholarship. And the night after I was told of that I sat over my fire in my little upper room, my study, in my father’s house, with his praise—his rare praise—and his sound counsels ringing in my ears, and I smoked my favourite pipe—the formidable bulldog of adolescence—and thought of that door in the long white wall. ‘If I had stopped,’ I thought, ‘I should have missed my scholarship, I should have missed Oxford—muddled all the fine career before me! I begin to see things better!’ I fell musing deeply, but I did not doubt then this career of mine was a thing that merited sacrifice.

“Those dear friends and that clear atmosphere seemed very sweet to me, very fine, but remote. My grip was fixing now upon the world. I saw another door opening—the door of my career.”

H.G. Wells's The Door in the Wall, and Other Stories opens with a narrator who recounts a friend's confession, immediately establishing a frame that questions the boundary between memory and invention. The narrator admits that the story, stripped of the 'glamour of his earnest slow voice,' seems 'frankly incredible,' yet he chooses to believe. This self-conscious uncertainty recurs throughout the collection, where Wells often lets a skeptical or detached observer introduce the tale, creating a tension between the rational and the fantastic.

Frame Narratives and Unreliable Testimony

In the title story, the narrator explicitly wrestles with whether Lionel Wallace's account is truth or delusion, noting that even Wallace's death 'throw no light on that.' Wells uses this framing to invite readers to judge for themselves. Similarly, in 'The Cone,' the story unfolds through a tense walk, but the perspective remains limited to Raut's discomfort and Horrocks's menacing loquacity. The reader never gains access to Horrocks's inner thoughts, only his actions and dialogue. This technique keeps the fantastic or horrific at a remove, emphasizing the characters' subjective experiences over objective reality.

Sensory Detail and Industrial Landscapes

Wells grounds his speculative elements in precise sensory observation. In 'The Cone,' the ironworks are rendered through vivid sounds and sights: 'the red flames gleamed out,' 'a confusion of smoke and black dust,' and the 'clang, clatter' of the rolling mills. Horrocks points out 'the fine effect of the railway signals towards Burslem' and the 'lovely bit of warm orange' of the puddlers' furnaces. This attention to industrial detail not only creates atmosphere but also serves as a counterpoint to the story's psychological menace. The physical environment becomes almost a character, reflecting the characters' emotional states.

Dialogue as a Tool for Tension

Wells crafts dialogue that reveals power dynamics and hidden conflicts. In 'The Cone,' Horrocks's speech shifts from seemingly casual commentary to aggressive commands: 'Come along!' he repeats, while gripping Raut's arm with 'benumbing tightness.' Raut's responses are marked by nervous laughter and artificiality, as when he says, 'By Jove! I'm black and blue.' The exchange is laden with subtext; their eyes 'saw a thousand things in a moment that their eyes came near to say.' Wells uses what is left unsaid to build suspense, allowing the reader to sense the threat beneath polite conversation.

Recurring Motifs of Haunting and Longing

Across the collection, characters are haunted by visions or desires that isolate them. Wallace in 'The Door in the Wall' confesses he is 'haunted by something—that rather takes the light out of things.' This phrasing echoes the way Horrocks's obsession with his furnaces and his wife's suspected infidelity consumes him. The stories share a preoccupation with characters who are driven by an inner compulsion, whether toward a magical door or a destructive rage. Wells does not resolve whether these forces are supernatural or psychological, leaving the reader with an unsettling ambiguity that lingers beyond each tale's end.

Readers approaching this collection should attend to the framing devices and the weight Wells gives to sensory details. The stories reward close attention to how characters speak and what they avoid saying. The tension between the mundane and the extraordinary is not resolved but sustained, making each tale a study in uncertainty. Let the evidence of the text guide your interpretation, and resist the urge to settle on a single meaning.

Reading about Wells’s narrow door, I recalled hiding beneath my grandmother’s quilt with Oliver Twist, the gaslight and fog seeping into our quiet room. Both authors build pressure from the smallest sensory details—a flickering shadow, a distant whistle—until the ordinary hums with danger. That same unease lingers in Stories from Dickens — Text and Context, where every alley holds a turning point. I almost wanted to stay inside the page.

Harper Johnson
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James Thompson
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  • ...
    Kenneth Jamie Hunter - 3 weeks ago
    A solid collection with several standout stories, particularly the title piece, which is poignant and thought-provoking. Wells's ideas are ahead of their time, and the prose is generally accessible. However, some stories feel uneven, with a couple lacking the impact of others. The endings are sometimes abrupt, leaving you wanting more. Still, a worthwhile read for those interested in classic speculative fiction.

  • ...
    Joseph Wheeler - 2 weeks ago
    A mesmerizing collection of short stories that showcase Wells's boundless imagination and storytelling genius. Each tale is a masterpiece of speculative fiction, from the haunting 'The Door in the Wall' to the eerie 'The Star.' Wells weaves philosophical depth into gripping narratives, leaving readers both entertained and enlightened. A timeless anthology that proves why he is a father of science fiction.

  • ...
    Kathy Riley - 1 week ago
    An uneven anthology that shows Wells's brilliance in fits and starts. While 'The Door in the Wall' is a compelling allegorical tale, most other stories are forgettable or underdeveloped. The prose can be dry and overly verbose, slowing the pace. The speculative concepts are intriguing but often not fully realized. This collection may appeal to completists, but casual readers will find it disappointing.


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